Indeed. This is to an extent already happening. Look at the state of employment in America today. Thousands (?millions?) of people are vilified every day by working people for being lazy and not pulling up their boot straps.
The worst of it is, most of those vilified people are working, usually multiple low-wage jobs, and a lot of them are doing so because they were automated out of the decent-wage blue collar job they worked back in the 90's.
It's not questionable, it's illegal. Ask the copyright holders.
If a individual has a question about legality, I'd say the first person they ask should probably be a lawyer or a judge, not some private business entity with a vested interest in giving a particular answer.
Of course one could also negotiate less onerous terms, but that is hard when the publisher prints my paper with absolutely no (publishing-related) cost to me.
Sounds to me like there very much is a cost - you have to surrender the copyright to your work.
Remember, just because money never changes hands doesn't mean it didn't cost you anything.
You implied that the solution to mastering a hit album was downloading the free Reaper.
No I didn't.
I said
the solution today is as simple as downloading a free copy of REAPER
Which is absolutely true - it costs nothing to download a copy of the software. Now, I did imply that a person could master a great sounding track with that method, but the phrase "hit album" never appears in my post, nor did I state the REAPER is free software.
Of all the nits in the world, this one's not worth picking.
The first car I owned was a 1986 Nissan Pulsar. Those days retractable headlights were much in vogue. Toyota Celica, Mazda Miata and some of these Nissans had them. There was a switch to disable the retraction and leave it permanently up. I used that to leave it up all the time based on a simple logic. "This car is old, and this damned retraction thingie is going to fail someday. When it does, I want it fail with the lights up not lights down".
I'm certain this is absolutely pointless to say now, but most of those setups were designed so that spring pressure had to be overcome to close the lenses; that way, if the mechanism did fail, it *should* fail-safe to the open position.
I wonder if Tesla has a switch to leave its door handles out.
If I owned a Tesla with a dead 12v battery right now, I'd be afraid to know the answer.
I have a very old crate tube that still works. Unfortunately I've not had a reel to reel since the 80s but yes they did have a different sound. It's probably just nostalgia but I like the tube amp and tape sound better.
All a matter of preference; sometimes I prefer the digitalia, depending on what kind of track I'm working on at the moment. But for live work? Yea, feed the TEAC into the ol' Marshall Valvestate, and let that gooey, analog warmth wash over...
Social whatnow? No wonder I can't find new music - apparently you have to give up all expectation of privacy in order to find new bands.
Normal, old-school advertising is also available as a service. Instead of paying 95% of sales to a studio for a little ad spend, a band could pay 20% and hire the ad company themselves.
Oh definitely; and, to put a new twist on an old favorite, never underestimate the advertising bandwidth of the bass player's Astro minivan full of burned CDs and home-made t-shirts. Most of the advertising local bands around here get (besides their facebook and ReverbNation profiles) is word of mouth, spread by patrons, venue owners, and other bands alike.
Not to say that paying an agency for a bit of publicity isn't worth the effort.
Plus, we had to walk to the music store uphill, both ways, in the snow, with DAT cases for shoes!
Ah, the good ol' days. Heck, I still keep an old TEAC reel-to-reel on my studio desk, and use it from time to time - nothing like real analog tape delay!
I really, really tried to like Ardour - went through as many tutorials as I could find, played with it for months.
It just... I dunno, never felt complete. Plus, I had a Macbook gifted to me that already had iLife '09 and Logic Express 8 installed, so I kinda gave up on the whole Linux studio hobby for a bit.
I recently found an ISO of PuppyStudio (with rt kernel!) that I managed to get working, and it has Ardour installed, so I might give 'er another go here in the near future.
Uh, OK, well, since I never implied that you should violate the license terms...
It is free for the first 30 days, which is plenty of time to learn enough about it to decide whether or not you want to pay the (yes, exceedingly reasonable) $45 for a license key.
No, that's a link to a video review of Audacity, in which the commenter, at the very end of the clip, claims to have auto-tuned her voice with Audacity.
That's not the same thing as a FOSS plugin that has similar functionality to the Antares plugin. Maybe if you had linked to a video where they actually name the plugin and show its use...
The FOSS auto-tune alternative has been around a long time. It's called "practice"
Ba-dum psht.
Don't get me wrong, I don't need it, I just have a few ideas I want to toy around with.
Like making a monotone recording and mapping it to a crazy guitar solo, or patching it through an electronic drum kit to try and create a funky stutter effect.
You're forgetting why bands sign to labels to begin with: Advertising.
The record labels are the ones that can (and do) do the legwork to set up and promote concerts,
Which is now done by the band themselves on social media.
to help design and create the T-shirts,
Social media + boutique, online print shops (CustomInk, VistaPrint, CafePress, etc.).
I found one site that does custom graphics for kick drums, too.
to get the bands name out there for the masses.
Did I say social media already?
Social media.
When the labels die out, there will be a mess of indie and smaller players, and the signal to noise ratio will get worse and worse.
Only if you operate under the assumption that "major label bands" > "indie bands."
Which is a false assumption to make. For example, look at some of the top acts from the late 1980's and early 1990's - Nirvana's first album, Bleach, was produced by a nobody studio known as SubPop Records; Sublime founded their own label, Skunk Records. These are but two examples of many great, at least moderately successful bands who broke into the industry without first selling out to the major labels.
Personally, I see it the other way: the big labels do nothing but pump out pile of crap after pile of crap, generic poppy garbage that all sounds the same, from talentless hacks who, if there was no such thing as AutoTune, would still be asking SAG card holders if they want fries with that. The Indie scene is were we get modern wonders like Jonathan Coulton, DeadMau5, LudaCris, et. al.
Seriously, the Thing A Week album series? You'd never see anything that progressive coming from an RIAA member.
Making high-quality music used to require investment. Expensive instruments at a minimum - but if you didn't want to sound like Kenny, you'd also need high quality microphones, sound damped recording studio, mixing desk, specialist technician to operate it and several high-end recorders capable of syncronised operation.
Actually, that's largely been a myth since the advent of consumer grade, multi-track tape recorders.
For instance, the Sublime album Robbin' The Hood was recorded exclusively on a 4-track tape machine, and it sounds awesome. The problem, however, comes in with mastering the tracks. Not sure how they managed it back in the early 1990's (I'm guessing they went to one of those expensive studios), but the solution today is as simple as downloading a free copy of REAPER and learning how to use it. If you don't mind spending a fair amount of cash, there's a plethora of other DAW options out there; I'm a fan of Logic myself.
Hell, I bet dedicated audiophiles could probably come up with studio quality stuff using nothing more complex than Audacity.
Slashdot Mirror
Indeed. This is to an extent already happening. Look at the state of employment in America today. Thousands (?millions?) of people are vilified every day by working people for being lazy and not pulling up their boot straps.
The worst of it is, most of those vilified people are working, usually multiple low-wage jobs, and a lot of them are doing so because they were automated out of the decent-wage blue collar job they worked back in the 90's.
It's not questionable, it's illegal. Ask the copyright holders.
If a individual has a question about legality, I'd say the first person they ask should probably be a lawyer or a judge, not some private business entity with a vested interest in giving a particular answer.
Of course one could also negotiate less onerous terms, but that is hard when the publisher prints my paper with absolutely no (publishing-related) cost to me.
Sounds to me like there very much is a cost - you have to surrender the copyright to your work.
Remember, just because money never changes hands doesn't mean it didn't cost you anything.
They're even better when you get them for $50 at a yard sale, like I did with my 8080.
Now, if only I could find someone's mom selling their old MOOG for 20 bucks...
You implied that the solution to mastering a hit album was downloading the free Reaper.
No I didn't.
I said
the solution today is as simple as downloading a free copy of REAPER
Which is absolutely true - it costs nothing to download a copy of the software. Now, I did imply that a person could master a great sounding track with that method, but the phrase "hit album" never appears in my post, nor did I state the REAPER is free software.
Of all the nits in the world, this one's not worth picking.
>*should* fail-safe to the open position.
Not in my first MX5. It failed down.
Hence my use of the qualifiers "most" and "should."
The first car I owned was a 1986 Nissan Pulsar. Those days retractable headlights were much in vogue. Toyota Celica, Mazda Miata and some of these Nissans had them. There was a switch to disable the retraction and leave it permanently up. I used that to leave it up all the time based on a simple logic. "This car is old, and this damned retraction thingie is going to fail someday. When it does, I want it fail with the lights up not lights down".
I'm certain this is absolutely pointless to say now, but most of those setups were designed so that spring pressure had to be overcome to close the lenses; that way, if the mechanism did fail, it *should* fail-safe to the open position.
I wonder if Tesla has a switch to leave its door handles out.
If I owned a Tesla with a dead 12v battery right now, I'd be afraid to know the answer.
Humans will have music for as long as we can find something to bang on rhythmically.
...for as long as your mom is around, then?
Once you finish primary school, you'll realize how funny that's not.
Bookmarked for future reference, thank you kindly.
How much electricity does a fossil-fuel vehicle use in a day while sitting, turned off?
If it's anywhere near 1.1 kWh, then yea, no big deal for the Tesla to have a similar draw.
I have a very old crate tube that still works. Unfortunately I've not had a reel to reel since the 80s but yes they did have a different sound. It's probably just nostalgia but I like the tube amp and tape sound better.
All a matter of preference; sometimes I prefer the digitalia, depending on what kind of track I'm working on at the moment. But for live work? Yea, feed the TEAC into the ol' Marshall Valvestate, and let that gooey, analog warmth wash over...
Did I say social media already?
Social media.
Social whatnow? No wonder I can't find new music - apparently you have to give up all expectation of privacy in order to find new bands.
Normal, old-school advertising is also available as a service. Instead of paying 95% of sales to a studio for a little ad spend, a band could pay 20% and hire the ad company themselves.
Oh definitely; and, to put a new twist on an old favorite, never underestimate the advertising bandwidth of the bass player's Astro minivan full of burned CDs and home-made t-shirts. Most of the advertising local bands around here get (besides their facebook and ReverbNation profiles) is word of mouth, spread by patrons, venue owners, and other bands alike.
Not to say that paying an agency for a bit of publicity isn't worth the effort.
Unless your band sucks.
My problem isn't that I can't sing. It's just a little distracting when everyone keeps throwing rotten fruit at me while I'm singing.
Have you tried dry humping another person on the stage. I hear that works well for popularity.
Only for values of "person on stage" that equal "Ex-Disney TV star turned teeny-bopper."
When a hardcore German death metal band does it... not so endearing.
Although IMO, Rammstein puts on a hell of a show.
Reaper is pretty much the only Windows DAW I touch (Audacity isn't a DAW, so it doesn't count).
The built-in support for VST instruments is quite handy.
http://www.gvst.co.uk/gsnap.htm
Ooh, shiny! Think I'll download the whole suite!
Thanks for the resource.
Apparently I have, correcting internal dictionary now...
Plus, we had to walk to the music store uphill, both ways, in the snow, with DAT cases for shoes!
Ah, the good ol' days. Heck, I still keep an old TEAC reel-to-reel on my studio desk, and use it from time to time - nothing like real analog tape delay!
Why not go open source for DAW with Ardour ?
I really, really tried to like Ardour - went through as many tutorials as I could find, played with it for months.
It just... I dunno, never felt complete. Plus, I had a Macbook gifted to me that already had iLife '09 and Logic Express 8 installed, so I kinda gave up on the whole Linux studio hobby for a bit.
I recently found an ISO of PuppyStudio (with rt kernel!) that I managed to get working, and it has Ardour installed, so I might give 'er another go here in the near future.
Uh, OK, well, since I never implied that you should violate the license terms...
It is free for the first 30 days, which is plenty of time to learn enough about it to decide whether or not you want to pay the (yes, exceedingly reasonable) $45 for a license key.
No, that's a link to a video review of Audacity, in which the commenter, at the very end of the clip, claims to have auto-tuned her voice with Audacity.
That's not the same thing as a FOSS plugin that has similar functionality to the Antares plugin. Maybe if you had linked to a video where they actually name the plugin and show its use...
Talent, or skill? Talent is developed over years of practice, skill is what you're born with.
The FOSS auto-tune alternative has been around a long time. It's called "practice"
Ba-dum psht.
Don't get me wrong, I don't need it, I just have a few ideas I want to toy around with.
Like making a monotone recording and mapping it to a crazy guitar solo, or patching it through an electronic drum kit to try and create a funky stutter effect.
You're forgetting why bands sign to labels to begin with: Advertising.
The record labels are the ones that can (and do) do the legwork to set up and promote concerts,
Which is now done by the band themselves on social media.
to help design and create the T-shirts,
Social media + boutique, online print shops (CustomInk, VistaPrint, CafePress, etc.).
I found one site that does custom graphics for kick drums, too.
to get the bands name out there for the masses.
Did I say social media already?
Social media.
When the labels die out, there will be a mess of indie and smaller players, and the signal to noise ratio will get worse and worse.
Only if you operate under the assumption that "major label bands" > "indie bands."
Which is a false assumption to make. For example, look at some of the top acts from the late 1980's and early 1990's - Nirvana's first album, Bleach, was produced by a nobody studio known as SubPop Records; Sublime founded their own label, Skunk Records. These are but two examples of many great, at least moderately successful bands who broke into the industry without first selling out to the major labels.
Personally, I see it the other way: the big labels do nothing but pump out pile of crap after pile of crap, generic poppy garbage that all sounds the same, from talentless hacks who, if there was no such thing as AutoTune, would still be asking SAG card holders if they want fries with that. The Indie scene is were we get modern wonders like Jonathan Coulton, DeadMau5, LudaCris, et. al.
Seriously, the Thing A Week album series? You'd never see anything that progressive coming from an RIAA member.
Just one Antares VST plugin (Auto-Tune 7), and you sing as well as any modern pro can.
Always wanted to play with it, never wanted to spend the money.
Still waiting on a FOSS alternative.
Making high-quality music used to require investment. Expensive instruments at a minimum - but if you didn't want to sound like Kenny, you'd also need high quality microphones, sound damped recording studio, mixing desk, specialist technician to operate it and several high-end recorders capable of syncronised operation.
Actually, that's largely been a myth since the advent of consumer grade, multi-track tape recorders.
For instance, the Sublime album Robbin' The Hood was recorded exclusively on a 4-track tape machine, and it sounds awesome. The problem, however, comes in with mastering the tracks. Not sure how they managed it back in the early 1990's (I'm guessing they went to one of those expensive studios), but the solution today is as simple as downloading a free copy of REAPER and learning how to use it. If you don't mind spending a fair amount of cash, there's a plethora of other DAW options out there; I'm a fan of Logic myself.
Hell, I bet dedicated audiophiles could probably come up with studio quality stuff using nothing more complex than Audacity.